 | Bach, Johann Sebastian - Prelude: "Jesus Christus, unser Heiland" for Pipe Organ BWV 688 Orgue seul |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Orgue seul16 autres versions | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 14 Sep 2016 The Clavier-Übung III, sometimes referred to as the German Organ Mass, is a collection of compositions for organ by Johann Sebastian Bach, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his musically most complex and technically most demanding compositions for that instrument. In its use of modal forms, motet-style and canons, it looks back to the religious music of masters of the stile antico, such as Frescobaldi, Palestrina, Lotti and Caldara. At the same time, Bach was forward-looking, incorporating and distilling modern baroque musical forms, such as the French-style chorale. The work has the form of an Organ Mass: between its opening and closing movements—the prelude and "St Anne" fugue in E-flat, BWV 552—are 21 chorale preludes, BWV 669–689, setting parts of the Lutheran mass and catechisms, followed by four duets, BWV 802–805. The chorale preludes range from compositions for single keyboard to a six-part fugal prelude with two parts in the pedal. The purpose of the collection was fourfold: an idealized organ programme, taking as its starting point the organ recitals given by Bach himself in Leipzig; a practical translation of Lutheran doctrine into musical terms for devotional use in the church or the home; a compendium of organ music in all possible styles and idioms, both ancient and modern, and properly internationalised; and as a didactic work presenting examples of all possible forms of contrapuntal composition, going far beyond previous treatises on musical theory. The chorale prelude Jesus Christus, unser Heiland BWV 688 is a trio sonata with the upper voices in quavers and semiquavers the manuals and the cantus firmus in minims in the pedal in the Dorian mode of G, like a Gregorian chant. The eccentric angularity of the keyboard subject with its great widening or narrowing leaps is derived from the melody. It has prompted much speculation as to its iconographic significance. "Unwavering faith" has been taken to be the underlying theme by many commentators, including Spitta and Schweitzer, who compared the unsteady theme to the vision of a sailor seeking a firm foothold on a stormy deck (un marin qui cherche un appui solide sur une planche roulante). Others have interpreted the leaping theme as representing Man's parting from and return to God; or as the "great agony" (großer Arbeit) of the sixth verse; or as the anger of God appeased by the suffering of Christ (the theme followed by its inversion); or as a reference to the treading of the winepress in the passage. Whatever the religious significance, the musical development from the motifs is ingenious and subtle, constantly varying. The material in the semiquaver codetta (bar 6) of the fugue subject and of the countersubject (bars 7–9) is used and developed extensively throughout BWV 688, sometimes in inverted form. The theme itself is transformed in all sorts of ways, including inversion, reflection, reversal and syncopation, the variety increased by how the two upper voices combine together. Once started, the semiquaver figures form a moto perpetuo. At some points, they contain hidden versions of the quaver fugue subject; but as the work progresses, they gradually simplify to scale passages. Even the ending is unconventional, with a simulated ritardando in the last bars with the pedal silent. The chorale prelude is thus composed from a few organic motifs heard already in the first few bars. The unprecedented novelty and musical originality of such a self-generated composition might have been Bach's main intention. Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III). I created this Transcription of the Chorale Prelude (BWV 688) "Jesus Christus, unser Heiland" (Jesus Christ our Saviour) for Pipe Organ. Partition centrale : | Chorale Préludes (47 partitions) | | |||
